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Reading Quiz for Chapter 16

Read Chapter 16 in your book and check your comprehension by answering the following questions. Then “submit” your work.

Question

The highest artistic goal of the Romantic movement was
A. intellectual rigor.
B. personal emotional expression.
C. the preservation of historical achievements.
D. adherence to religious and social conventions.

The highest artistic goal of the Romantic movement was

Correct.

Incorrect. See The Cult of Individual Feeling in Chapter 16.
Question

What role did the Romantics play in the revolutionary atmosphere of the nineteenth century?
A. They were rebels against the established political and social order.
B. They fought to preserve class distinctions.
C. They saw revolutionaries as radicals who needed to be suppressed.
D. They refused to get involved in matters of politics.

What role did the Romantics play in the revolutionary atmosphere of the nineteenth century?

Correct.

Incorrect. See Romanticism and Revolt in Chapter 16.
Question

Which is true of Romantic composers?
A. They worked to regulate forms and genres as much as possible.
B. They appreciated rules as essential to their art.
C. They avoided doing anything that writers were doing in literature.
D. They worked to break down barriers of harmony, form, and genre.

Which is true of Romantic composers?

Correct.

Incorrect. See Artistic Barriers in Chapter 16.
Question

Which playwright heavily influenced Romantic attitudes about rules and restrictions in art?
A. Molière
B. Shakespeare
C. Marlowe
D. Goethe

Which playwright heavily influenced Romantic attitudes about rules and restrictions in art?

Correct.

Incorrect. See Artistic Barriers in Chapter 16.
Question

Romantic music and literature often showed a fascination with
A. the supernatural and the macabre.
B. the importance of religious rules and rituals.
C. the contrast between system and calculation on the one hand, and pomp and extravagance on the other.
D. realistic daily life.

Romantic music and literature often showed a fascination with

Correct.

Incorrect. See Music and the Supernatural in Chapter 16.
Question

Which of the following did the Romantics prefer in the arts?
A. precise meanings
B. precise musical sounds
C. blurred, vague, and ambiguous effects
D. clear distinctions between different art forms such as music, poetry, and drama

Which of the following did the Romantics prefer in the arts?

Correct.

Incorrect. See Music and the Other Arts in Chapter 16.
Question

Which statement best describes the relationship between composers and concert audiences in the nineteenth century?
A. Composers created whatever music audiences demanded, much as they had in earlier centuries for the nobility.
B. Composers did not need to worry about what audiences thought of their music.
C. Composers wanted to create innovative music, but audiences tended to prefer music they already knew and liked.
D. Audiences were just as interested in innovation as composers were.

Which statement best describes the relationship between composers and concert audiences in the nineteenth century?

Correct.

Incorrect. See The Artist and the Public in Chapter 16.
Question

What is chromaticism?
A. a term for Romantic composers’ tendency to write melodies full of highly exaggerated emotion
B. a musical style that makes frequent use of all twelve notes of the chromatic scale
C. the art of writing music that corresponds to a story or other literary source
D. rhythmic flexibility

What is chromaticism?

Correct.

Incorrect. See Romantic Harmony in Chapter 16.
Question

The technique of improvising rhythmically, “stealing” time from the beat or allowing the meter to waver, is called
A. chromaticism.
B. thematic transformation.
C. program music.
D. rubato (or tempo rubato).

The technique of improvising rhythmically, “stealing” time from the beat or allowing the meter to waver, is called

Correct.

Incorrect. See Rhythmic Freedom: Rubato in Chapter 16.
Question

How was the Romantic orchestra different from the Classical orchestra?
A. The Romantic orchestra was smaller with fewer instruments.
B. The Romantic orchestra expanded, adding more performers and more instruments.
C. The Romantic orchestra maintained the strings, woodwinds, and brass as they were in the Classical orchestra, but added many more percussion instruments.
D. There was no difference.

How was the Romantic orchestra different from the Classical orchestra?

Correct.

Incorrect. See The Expansion of Tone Color in Chapter 16.
Question

Instrumental music that is associated with a poem, a story, or some other literary source or nonmusical idea is called
A. program music.
B. theme music.
C. Romantic music.
D. music drama.

Instrumental music that is associated with a poem, a story, or some other literary source or nonmusical idea is called

Correct.

Incorrect. See Program Music in Chapter 16.
Question

How did Romantic composers feel about conventional, standardized forms in music?
A. They relied exclusively on conventional forms to provide structure for the listener.
B. They liked to use conventional forms to contrast with the liberties they took in melody, harmony, and rhythm.
C. They did not use Classical forms, but instead turned back to Baroque forms.
D. They wanted each work of art to express individuality, so they did not feel the need to follow closely any standardized forms.

How did Romantic composers feel about conventional, standardized forms in music?

Correct.

Incorrect. See Form in Romantic Music in Chapter 16.
Question

What are miniatures?
A. smaller versions of orchestral instruments designed to play in higher ranges
B. small concerts performed in someone’s home
C. short pieces of music usually written for piano, or piano and voice
D. symbols for indicating rubato in musical notation

What are miniatures?

Correct.

Incorrect. See Miniature Compositions in Chapter 16.
Question

The tendency of Romantic composers to maintain some of the same thematic material over the course of a long, multimovement work is the principle of
A. thematic unity.
B. theme and variations.
C. rubato.
D. program music.

The tendency of Romantic composers to maintain some of the same thematic material over the course of a long, multimovement work is the principle of

Correct.

Incorrect. See The Principle of Thematic Unity in Chapter 16.
Question

The Romantic variation-like procedure whereby short themes are freely and unpredictably varied is called
A. thematic transformation.
B. thematic similarity.
C. fragmentation.
D. development.

The Romantic variation-like procedure whereby short themes are freely and unpredictably varied is called

Correct.

Incorrect. See The Principle of Thematic Unity in Chapter 16.

Reading Quiz for Chapter 16

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